Fabrice Hermans
visual identity, development - 2010
visual identity, development - 2010
Fabrice Hermans' autonomous work primarily features sculptures and installations. After many years as a proficient graphic designer he decided to pursue his passion in art, which usually has some angle with cars and its position in modern society. His love of Citroën goes back into his childhood days, collecting miniature cars together with his brother.
Fabrice, being a designer himself, decided to give me a regarding the design and concept, bringing together his two creative passions: autonomous work as well as his graphic work. This is reflected in a clear divide as soon as you enter the site, and it's visually enhanced by using circle segments - as counterparts of the unity a circle represents. There are also more formal and straightforward references to this geometric shape: the - representing visual communication - and the - the essence of the car itself.
For an added sense of depth, another layer is introduced, effectively masking out most of the bold photographs on display. Thus, the visitor's view is initially limited to a circular cutout of what's behind, to be revealed during interaction. Furthermore one is stimulated by the bright dotted patterns that irregularly fill up the page, suggesting the pixels and printed dots a graphic designer is familiar with.
Keeping with the two-fold navigation, all interaction has been reduced to a linear movement: back and forth.
visit www.fabricehermans.com
Fabrice, being a designer himself, decided to give me a regarding the design and concept, bringing together his two creative passions: autonomous work as well as his graphic work. This is reflected in a clear divide as soon as you enter the site, and it's visually enhanced by using circle segments - as counterparts of the unity a circle represents. There are also more formal and straightforward references to this geometric shape: the - representing visual communication - and the - the essence of the car itself.
For an added sense of depth, another layer is introduced, effectively masking out most of the bold photographs on display. Thus, the visitor's view is initially limited to a circular cutout of what's behind, to be revealed during interaction. Furthermore one is stimulated by the bright dotted patterns that irregularly fill up the page, suggesting the pixels and printed dots a graphic designer is familiar with.
Keeping with the two-fold navigation, all interaction has been reduced to a linear movement: back and forth.
visit www.fabricehermans.com
